Welcome to Copper #71!

    The leaves have mostly passed peak color here in the Front Range of the Rockies, meaning the dogs are running through the carpet of fallen leaves and are generally making a crackly mess of things. Halloween has passed, and the election is coming right up—and no, I’m not equating the two. ;->

    I’m pleased that Woody Woodward, our Poet Laureate of the Roadhouse, returns in this issue with a piece even more bizarre than usual. Well–he’s had that stuff bottled up for a while…. Good to have you back, Woody!

    Wrapping up our coverage of the recent Rocky Mountain Audio Fest, part 2 of my walk around the show appears here, in this issue. Our resident oenologist audiophile, Tom Methans, also provides his take on the show as a bass-free zone.

    With Woody back, the gang is all here:  Larry Schenbeck writes about music that speaks softly, but carries a big impact;  Dan Schwartz is still recoveringso we’ll revisit his piece on his friend and colleague, Harry Pearson; Richard Murison remembers a classic bit of English humor (or humour)Jay Jay French writes about a recent Elton John concert Roy Hall recalls a brief encounter in MilanAnne E. Johnson brings us some lesser-known cuts from The Clash; and  continue the (never-ending!) series on phono technology, and obsess over liminal messages.

    Industry News looks at the bizarre world of buy-backs.  Our friend Christian James Hand is on the road with live sessions, and will return next issue.

    Copper #71 concludes with Charles Rodrigues getting warmer, and a Parting Shot from —well, my backyard.

    As always: thanks for reading!

    Cheers, Leebs.

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